Page 168 - Imperial Sale Chinese Works of Art June 1 2016 HK

3302 Continued

The Amitayus Buddha, also known as the Buddha of Infinite Life, 無量壽佛，又稱長壽佛，是佛教信仰中極為重要、流傳廣泛
is one of the most important and widely worshipped deities in the 的尊神。由於此尊神既能滿足現世人間眾生的對於壽命延長
Buddhist pantheon. His immense popularity, lasting for more than 的追求，又能接引善良的眾生死後超脫輪回之苦，往生美好
a thousand years, is attributed to his ability of prolonging longevity 的西方極樂世界，千餘年來，以無量壽佛為題材的造像作品
amongst the living, and helping the souls of the good escape karma 備受人們所喜愛。
and reach nirvana.
在藏傳佛教中，無量壽佛多為一面二臂造型，通常為坐姿。
In Tibetan Buddhism, Amitayus is typically represented with one head 其特點是著菩薩裝束，雙腳結跏趺，雙手下垂結印置於雙腳
and two arms, seated in dyanasana with hands held in dhyana mudra, 之上。其中一種造型，雙手結禪定印托長壽寶瓶，另一種則
sometimes holding a vase. He is dressed in attire with adornments 無。但都著菩薩裝，與阿彌陀佛著佛裝有所區別。
akin to a Bodhisattva, as opposed to a loose robe as in the case of
Amitabha Buddha. 此件無量壽佛造像為其標準造型，紅銅質地，形體巨大，頭
部泥金，白毫、髮辮、瓔珞、臂釧和裙擺鑲嵌綠松石等寶
The current figure demonstrates the classic representation of 石。與此同時，裙擺上刻滿纏枝花紋。高聳的頂髻使人聯想
Amitayus figures. It is heavily cast in copper, with the face covered in 到早期的波羅遺韻，細膩光潤的肌膚的高超澆鑄工藝，精雕
gold lacquer, and the urna, plaits, beaded necklace, armlets and hems 細琢、行雲流水般自然寫實的纏枝蓮紋樣，令人回想起尼
of the dhoti inset with hardstones. The dhoti is further incised with 泊爾遺風。所有這一切與清朝宮廷18世紀的仿古之風無不相
scrolling foliate motifs. The tall usnisha is reminiscent of the early Pala 關。此時期的宮廷造像，對紅銅頗為偏愛，崇尚對西藏進貢
period, while the soft and radiant skin and the realistic rendering of 的古代風格造像的垂範，工藝極為考究，盡顯豪華富麗之
the scrolling motifs evoke the grandeur of the finest Nepalese figures. 風。此件無量壽佛造像的質地、工藝和風格，都堪與清代同
These stylistic characteristics reflect the trend of archaism witnessed 期宮廷造像媲美（參見《中國藏傳佛教雕塑全集》第2卷，
at the Qing imperial court during the 18th century. Buddhist figures 《龍袍與袈裟—清宮藏傳佛教考察》）。更為重要的是，瓔
commissioned by the imperial court during this period are often cast 珞、纏枝蓮和綠松石簡約、大方的裝飾風格猶如一股沁入心
in copper, and are much inspired by earlier Buddhist figures that were 脾的清風，高雅而又不失瑰麗，精緻而又不繁縟，有畫龍點
sent to the court as tributes from Tibet, which are characterised by 睛之效。無論是其工藝，還是其藝術表現，都堪稱18世紀內
their exquisite craftsmanship and ornate style. The current figure is 地藏傳佛教造像的佳作之一。
on a par in terms of quality and craftsmanship to contemporaneous
figures in the Qing court collection, and stands as one of the best
examples of Buddhist figures from the 18th century.

166